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Song of Love is a 1947 American biopic film about the relationship between renowned 19th-century musicians Clara Wieck Schumann (Katharine Hepburn) and Robert Schumann (Paul Henreid). The film, which also stars Robert Walker and Leo G. Carroll , was directed by Clarence Brown and released by Metro-Goldwyn-Mayer .
This song, whose title means 'dedication', is famous for its lyrical expression of Schumann's love for Clara. It has been arranged several times, most famously by Liszt for solo piano, and it appears thematically in the biographical film Song of Love. [1] [2] 2. Freisinn; text by Goethe 3. Der Nussbaum; text by Julius Mosen 4.
Song of Love may refer to: Song of love or love song, a song about falling in love; The Song of Love; Song of Love, a film starring Belle Baker and Ralph Graves; The Song of Love; Song of Love, a film starring Katharine Hepburn and Paul Henreid; A Song of Love (Un chant d'amour), a 1950 film by Jean Genet
Movement No. 7 of the work, Träumerei, is one of Schumann's best known pieces; it is the opening and closing musical theme of the 1947 Hollywood film Song of Love, [3] and Träumerei is the title of a 1944 German biographical film on Schumann. [4]
Robert Schumann [n 1] (/ ˈ ʃ uː m ɑː n /; German: [ˈʁoːbɛʁt ˈʃuːman]; 8 June 1810 – 29 July 1856) was a German composer, pianist, and music critic of the early Romantic era. He composed in all the main musical genres of the time, writing for solo piano, voice and piano, chamber groups, orchestra, choir and the opera. His works ...
"Song of Love" is a song recorded during an informal performance by Paul McCartney, singing and playing the piano at Twickenham Film Studios during the "Get Back Sessions" which were used to later produce both the Let It Be film and the album of the same name.
Gesänge der Frühe (Songs of the Morning), Op. 133, is a composition in five movements by Robert Schumann for solo piano. A performance takes about 13 minutes. Composed in October 1853, it is one of Schumann's last compositions, composed three years before his death. By the time he began work on these pieces, he was suffering from mental and ...
The songs in this cycle are notable for the fact that the piano has a remarkable independence from the voice. Breaking away from the Schubertian ideal, Schumann has the piano contain the mood of the song in its totality. Another notable characteristic is the cycle's circular structure, in which the last movement repeats the theme of the first.